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<h1><a href="https://archiveofourown.org/works/26765269">Ep 2.1: Mad, Bad and Dangerous to Know.</a> by <a class='authorlink' href='https://archiveofourown.org/users/JulietSalvatore12/pseuds/JulietSalvatore12'>JulietSalvatore12</a></h1>

<table class="full">

<tr><td><b>Series:</b></td><td>ADOW season 2 [1]</td></tr>

<tr><td><b>Category:</b></td><td>A Discovery of Witches (TV), All Souls Trilogy - Deborah Harkness</td></tr>

<tr><td><b>Genre:</b></td><td>Family Dynamics, Human/Vampire Relationship, Magic, Politics, Romance, Vampires, fanscript, slowburn</td></tr>

<tr><td><b>Language:</b></td><td>English</td></tr>

<tr><td><b>Status:</b></td><td>Completed</td></tr>

<tr><td><b>Published:</b></td><td>2020-10-02</td></tr>

<tr><td><b>Updated:</b></td><td>2020-10-15</td></tr>

<tr><td><b>Packaged:</b></td><td>2021-05-18 11:28:44</td></tr>

<tr><td><b>Rating:</b></td><td>Teen And Up Audiences</td></tr>

<tr><td><b>Warnings:</b></td><td>Creator Chose Not To Use Archive Warnings</td></tr>

<tr><td><b>Chapters:</b></td><td>7</td></tr>

<tr><td><b>Words:</b></td><td>9,503</td></tr>

<tr><td><b>Publisher:</b></td><td>archiveofourown.org</td></tr>

<tr><td><b>Story URL:</b></td><td>https://archiveofourown.org/works/26765269</td></tr>

<tr><td><b>Author URL:</b></td><td>https://archiveofourown.org/users/JulietSalvatore12/pseuds/JulietSalvatore12</td></tr>

<tr><td><b>Summary:</b></td><td><div class="userstuff">
              <p>A fanscript of Season 2 ADOW largely exploring Matthew and Diana's time in Elizabethan London and the lengths their family go to to keep their secret. This is episode 1 of 5 and I hope you enjoy it :) </p>
<p>SPOILERS ALERT: To make this I have adapted the second book in the All Souls trilogy so if you haven't read The Shadow of Night then this fanfic will contain spoilers for the book. Some lines/scenes have been taken directly from the book and the overall plot follows that of the book. </p>
<p>DISCLAIMER: I have no association with Deb Harkness nor anyone affiliated with her or the show and this work is purely speculative.</p>
            </div></td></tr>

<tr><td><b>Relationships:</b></td><td>Diana Bishop &amp; Matthew Clairmont, Diana Bishop/Matthew Clairmont, Matthew Clairmont &amp; Christopher "Kit" Marlowe (All Souls Trilogy), Phoebe Taylor/Marcus Whitmore, Sarah Bishop/Emily Mather</td></tr>

<tr><td><b>Series:</b></td><td>ADOW season 2 [1]</td></tr>

<tr><td><b>Series URL:</b></td><td>https://archiveofourown.org/series/1950691</td></tr>

<tr><td><b>Comments:</b></td><td>25</td></tr>

<tr><td><b>Kudos:</b></td><td>24</td></tr>

</table>

<a name="section0001"><h2>1. Teaser</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>
  <strong>EXT. THE BISHOP HOUSE. PRESENT DAY. NIGHT </strong>
</p><p>Satu blasts the doors off. Knox and Gerbert are behind her.</p><p>The trio are encased by the magical shield that Knox is projecting. They walk through the empty doorway.</p><p>
  <strong> INT. THE BISHOP HOUSE. ENTRYWAY. </strong>
</p><p><span class="u">GERBERT</span>: They should be alone in the top room.</p><p>The trio walk in that direction. Satu stops.</p><p><span class="u">SATU:</span> Something is wrong.</p><p><span class="u">KNOX:</span> How so?</p><p><span class="u">SATU:</span> I can't sense her anymore.</p><p>Satu runs towards the top room (Diana's bedroom). Pushing open the door she rushes inside.</p><p>
  <strong> INT. THE BISHOP HOUSE. DIANA'S BEDROOM. </strong>
</p><p>The room is empty save the furniture and decor.</p><p><span class="u">SATU:</span> They're gone.</p><p><span class="u"> GERBERT</span>: What do you mean they're gone? How can they be gone?</p><p>Gerbert enters the room, pushing Satu out of the way.</p><p>Knox follows him.</p><p><span class="u"> GERBERT</span>: No!!!!!</p><p>Gerbert pushes the random assortment of belongings off the vanity table in frustration.</p>
<hr/><p>
  <strong>INT. THE OLD LODGE. MASTER BEDROOM. 1590. NIGHT </strong>
</p><p>Diana and Matthew magically appear, stepping their feet down in unison, holding hands. They let go of each other and survey the room in awe. The room contains a large four poster bed, a writing desk that is cluttered with papers, a chest for storing clothes, a two privacy divider (one hiding a chamber pot and the other for dressing behind) etc. The defining signature of the room are the white and red Tudor roses that are carved into the wooden walls.</p><p>Diana takes in these carved roses with in happy disbelief.</p><p>Matthew smiles. He looks at Diana and notices that she is is staring at the engraved roses.</p><p><span class="u">MATTHEW:</span> The roses were obligatory when I first built the house. I could never really stand them. We'll paint over them at the first opportunity.</p><p>Diana turns to him, beaming.</p><p><span class="u">DIANA</span>: I did it? We're really in 1590?</p><p>Matthew grins back at her, his arms outstretched.</p><p><span class="u">MATTHEW</span>: Welcome to Elizabeth's England.</p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff">
          <p>I know the teaser is a little dry so continue straight on to the first Act where you'll see how everyone is coping with Diana and Matthew's sudden disappearance. </p><p>Please leave a comment or kudos if you enjoyed it or have any feedback. I'd love to hear your thoughts :)</p>
        </blockquote></div></div>
<a name="section0002"><h2>2. Act 1</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Summary for the Chapter:</b><blockquote class="userstuff">
            <p>Diana meets a long-time idol, Ysabeau takes in some unlikely houseguests and the congregation argue over their next move.</p>
          </blockquote></div><div class="userstuff module">
    
    <p>
  <strong>INT. OLD LODGE. MASTER BEDROOM. 1590. NIGHT </strong>
</p><p>Diana and Matthew laugh in amazement.</p><p>They rush towards each other in a fierce embrace.</p><p>This slowly turns into a kiss. They are elated. For this one moment at least, they are free.</p><p><span class="u">DIANA</span>:I can't believe I did it. We're really in 1590!</p><p><span class="u">MATTHEW:</span> You were amazing.</p><p>He kisses her.</p><p>Footsteps are heard approaching.</p><p>Matthew and Diana pull apart.</p><p><span class="u">KIT (O.S.):</span> Matthew? Matthew is that you?</p><p>The bedroom door opens and Kit, an exuberant and charming man in his mid/late 20's enters.</p><p>Matthew grins at his old friend.</p><p><span class="u">MATTHEW</span>: Kit! </p><p>Matthew and Kit hug.</p><p><span class="u">KIT:</span> Oh it is good to see you Matt! I was beginning to fear you would never return from Chester.</p><p>The pair let each other go, though Kit seems reluctant to leave the hug. His hand lingering on Matthew.</p><p>Kit holds Matthew's face in his hands, examining it.</p><p><span class="u">KIT:</span> Why no beard? Have you been ill?</p><p>Kit notices Diana over Matthew's shoulder. </p><p><span class="u">KIT</span>: Where did you find that?</p><p>Diana looks behind herself, expecting to see some hideous artwork or sculpture, but there is nothing.</p><p>She turns back, despondent with the realisation that Kit is referring to her.</p><p><span class="u">MATTHEW:</span> That's no way to talk to a lady Kit.</p><p>Matthew holds his hand out to Diana; She takes it.</p><p><span class="u">MATTHEW</span>: Diana, this is my dear friend Christopher Marlow.</p><p><span class="u">DIANA</span>: It's very nice to meet you Mr. Marlow.</p><p>Diana's speech and accent is evidently distinct and awkward.</p><p>Kit begins inspecting her.</p><p><span class="u">KIT:</span> She's certainly not your usual type Matthew. Most of your whores are more delicate and appealing. This one looks like she could take down a stag with her bare hands. </p><p><span class="u">MATTHEW:</span> Oh Kit. How easily you do squander affection.</p><p><span class="u">KIT:</span> Do you remember when Blackfriars Bess demanded we call her Aphrodite before she would let us....</p><p>Kit is shoved against the wall, Matthew's hand wrapped around his neck.</p><p><span class="u">MATTHEW:</span> She's not a whore. Diana is my....</p><p>Matthew looks back at Diana, attempting to decide what word would be adequate enough to describe her importance.</p><p>He turns back to Kit.</p><p><span class="u">MATTHEW:</span> Diana is my wife.</p><p><span class="u">KIT:</span> What?</p><p><span class="u">MATTHEW:</span> She is my wife and the mistress of this house. You will give her the respect she is entitled to. </p><p>Matthew releases Kit.</p><p>Kit looks incredulously from Matthew to Diana.</p><p>Beat.</p><p>Matthew goes to Diana.</p><p>He gently takes her head in his hands.</p><p><span class="u">MATTHEW:</span> How are you feeling mon coeur? </p><p><span class="u">DIANA:</span> Fine, a little tired maybe. I've never used that much magic before. </p><p>Kit looks increasingly sickened.</p><p><span class="u">KIT</span>: That woman is a witch?</p><p>Matthew does not look at Kit. </p><p><span class="u">MATTHEW</span>: Go downstairs where you belong Kit. It's late. We'll see you in the morning.</p><p>Kit glares at Matthew.</p><p>Kit leaves the room. Diana watches him leave with interest.</p><p><span class="u">DIANA:</span> So that's the great playwright Christopher Marlow. I don't think he likes me very much.</p><p><span class="u">MATTHEW:</span> I'm sorry he's behaving so brashly.</p><p><span class="u">DIANA:</span> I'm sure we'll get used to each other. Just warn me in advance if I'm going to be meeting Shakespeare.</p><p><span class="u">MATTHEW</span>: I doubt we'll be seeing Will. He's in a feud with Kit and Walter doesn't approve of his command of meter.</p><p><span class="u">DIANA:</span> Oh is that so?</p><p><span class="u">MATTHEW</span>: hmmmm</p><p><span class="u">DIANA:</span> Will I meet the Queen?</p><p><span class="u">MATTHEW</span>: Absolutely not! The mere thought of what the two of you might say to each other makes me shudder.</p><p><span class="u">DIANA:</span> Excuse me, I would be perfectly appropriate in front of her majesty.</p><p><span class="u">MATTHEW:</span> I'm more worried about her. Elizabeth eats courtiers for breakfast, there's no telling what she would do to you.</p><p><span class="u">DIANA:</span> So it's just husbandly concern, is it?</p><p>Diana raises her eyebrow at Matthew.</p><p>He chuckles slightly in embarrassment.</p><p><span class="u">MATTHEW:</span> Do you mind that I called you my wife? It seemed like the easiest explanation but we can come up with something else.</p><p><span class="u">DIANA:</span> No. You're right it is the easiest explanation, and Elizabethan England isn't exactly the easiest place to be a single woman. Plus it could be kinda fun to play Mrs Clairmont for a while.</p><p>Matthew smiles.</p><p><span class="u">MATTHEW:</span> Do you still have the ring, Mamau gave you?</p><p>Diana nods. </p><p>She opens her hand to reveal the ring clenched tightly within it.</p><p>She holds it out and Matthew takes it.</p><p>He delicately holds her left hand in his.</p><p>He meets her eyes.</p><p><span class="u">MATTHEW:</span> Will you wear it?</p><p>Diana nods.</p><p><span class="u">MATTHEW:</span> With this ring I thee wed,</p><p>Diana giggles, making Matthew smile. They enjoy this little game their playing.</p><p><span class="u">MATTHEW:</span> And with my body I thee honour. And with all my worldly goods I thee endow. In the name of the Father, and of the Son, and of the Holy Spirit. Amen.</p><p>Matthew brings her hand to his lips.</p><p><span class="u">DIANA:</span> Amen.</p><p><span class="u">MATTHEW:</span> I love you wife.</p><p><span class="u">DIANA</span>: I love you my husband.</p><p>They kiss again.</p><p>Matthew pulls away.</p><p><span class="u">MATTHEW</span>: It's late and your tired, you should get some rest. The others will be here tomorrow. It'll be a busy day.</p><p><span class="u">DIANA:</span> The group? Who else will be staying at the Lodge?</p><p><span class="u">MATTHEW (smirking):</span> You'll see. </p>
<hr/><p><strong>EXT. SEPT-TOUR. THE DRIVEWAY. PRESENT DAY. DAY.</strong> </p><p>Ysabeau and Marthe stand by the door in a characteristically statuesque manner. </p><p>Ysabeau glowers at the the down-trodden jeep (The Bishop Jeep) that is driving up towards the house.</p><p>
  <strong>INT. THE BISHOP JEEP. DAY</strong>
</p><p>Emily is driving while Sarah glowers out of the window.</p><p><span class="u">SARAH:</span> ugghhh. Of course they live in castle. I mean, why wouldn't they? They couldn't be more showy if they tried. It's completely conspicuous. And you know it's the vampires that make such a big deal about staying incognito.</p><p>Emily pats Sarah's knee comfortingly. She's putting on a friendly face but we can see that Emily has a little nervous tension bubbling up as well.</p><p><span class="u">EMILY:</span> Jealousy doesn't suit you honey. Just try to stay calm.</p><p>
  <strong>EXT. DRIVEWAY. SEPT-TOUR. DAY</strong>
</p><p>The jeep pulls to a stop.</p><p>Marthe turns to Ysabeau.</p><p><span class="u">MARTHE:</span> They're family now. They need our protection.</p><p><span class="u">YSABEAU:</span> I know. That doesn't mean I have to enjoy it.</p><p>Emily and Sarah get out of the car and begin removing they're belongs. They have approximately three bags each and the cat cage that holds a very disgruntled looking Tabitha.</p><p>Tabitha meows her protest.</p><p><span class="u">SARAH:</span> I just don't see why we couldn't have stayed in the village. They have a perfectly good hotel where the staff don't bite.</p><p><span class="u">EMILY:</span> Sarah they can hear you.</p><p>Ysabeau looks at Marthe, her exasperation palpable.</p><p>Sarah and Emily make their way up the steps to Ysabeau and Marthe.</p><p><span class="u">EMILY:</span> (attempting to whisper to prevent the vampires from overhearing.) Just try to play nice ok sweetie?</p><p><span class="u">SARAH:</span> What are you talking about? I'm always nice.</p><p>Emily reaches the vampires, Sarah following closely behind.</p><p>Emily quickly readjusts her bags. </p><p>She sticks her hand out at Ysabeau.</p><p><span class="u">EMILY:</span> You must be Ysabeau. Diana's told us so much about you.</p><p>Ysabeau ignores the outstretched hand.</p><p>Beat.</p><p>Emily turns to Marthe, similarly holding her hand out.</p><p><span class="u">EMILY:</span> You must be Marthe. It's lovely to meet you.</p><p>Marthe shakes Emily's hand.</p><p><span class="u">MARTHE:</span> The pleasure is all mine.</p><p><span class="u">YSABEAU:</span> Marthe will show you to your room.</p><p>Ysabeau walks back into the castle.</p><p>Emily and Sarah share a look.</p><p>Marthe takes some of the bags to help the guests.</p><p>They walk inside.</p>
<hr/><p>
  <strong>INT. THE CONGREGATION. MEETING HALL. PRESENT DAY. NIGHT.</strong>
</p><p><br/>
The nine congregation members are sitting within their circle. The meeting is in full session.</p><p><span class="u">KNOX:</span> We conducted a congregation authorized raid on the Bishop residence last week, only to discover that the fugitives had escaped justice.</p><p><span class="u">BALDWIN:</span> What do you mean they escaped? How do you know they were ever there?</p><p><span class="u">SATU:</span> They were there. It's easy to sense another witch when they're using magic.  </p><p><span class="u">BALDWIN:</span> You're alleging that Diana used magic to evade arrest?</p><p><span class="u">SATU:</span> There's no other explanation.</p><p><span class="u">BALDWIN:</span> Or you made a mistake. </p><p>Satu gives him a very effective death glare. </p><p><span class="u">DOMINICO:</span> You wouldn't happen to know where your brother is, would you Baldwin?</p><p><span class="u">GERBERT:</span> Of course he fucking knows.</p><p><span class="u">BALDWIN:</span> No one in my family has heard from Matthew I assure you. He's caused no end of grief to my poor stepmother.</p><p><span class="u">KNOX:</span> It's imperative that they are found and brought in for questioning. To stand trial for their crimes.</p><p><span class="u">AGNES</span>: What are they're crimes exactly? Falling in love?</p><p>Baldwin meets Agnes' eyes. Both can recognize that they're on the same side. For the sake of political appearances Baldwin remains firm.</p><p><span class="u">BALDWIN:</span> They've broken a centuries old covenant that holds together a fragile peace between our species. A covenant that my father established. I assure you Agnes, I won't have the desecration of my father's memory be romanticized.</p><p><span class="u">KNOX:</span> Not to mention the witch de Clairmont murdered.</p><p><span class="u">DOMINICO:</span> To be fair the witch did invade his territory and attempt to steal from him.</p><p><span class="u">SATU:</span> That's no excuse for murder.</p><p>Dominico shrugs.</p><p><span class="u">AGNES:</span> ENOUGH SQUABBLING!!! This council has more to discuss than Matthew de Clairmont and Diana Bishop. Until such a time as they can be found I suggest we move on to more immediate concerns. </p><p><span class="u">BALDWIN:</span> Gladly. What concerns did you have in mind, Agnes.</p><p><span class="u">AGNES:</span> The vampire murderer in London.</p>
<hr/><p>
  <strong>INT. MODERN ENGLISH FAMILY HOME. LIVING ROOM. PRESENT DAY. NIGHT.</strong>
</p><p><br/>
It's a fairly typical domestic scene. Father, mother and teenage daughter sit watching TV and eating their dinner.</p><p><span class="u">TV NEWS REPORTER:</span> These killings have been termed the Vampire Murders as the culprit continues to terrorise London streets. Academic and Occult expert Peter Knox has today dismissed rumours that these deaths are the result of a satanic ritual.</p><p><span class="u">PETER KNOX:</span> (being interviewed on the TV.) There is no evidence that these are ritualistic killings. There's no connection between any of the victims nor do the deaths have any of the typical characteristics one would except from occult ritual. Indeed, I'm not convinced that these are the result of a single killer.</p><p>The newsreel fades into the background.</p><p>The family hear a scuffling noise from outside.</p><p><span class="u">TEENAGER:</span> Not a very bright dog is she? She can never find the dog door.</p><p>Mother, seated closest to the back door gets up and opens the door.</p><p>No dog enters.</p><p>Mother goes outside.</p><p>
  <strong>EXT. BACKYARD OF THE FAMILY HOME. NIGHT.</strong>
</p><p><span class="u">MOTHER:</span> Missy? Missy?</p><p>Mother looks curiously around. It's dark, she can't see much.</p><p>Mother walks forward, searching.</p><p>A quick blur of a figure snatches up the Mother before she can scream.</p><p>SHOT OF THE EMPTY BACKYARD.</p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff">
          <p>How are you liking it so far? The next chapter should be up soon where you'll get a proper introduction to the School of Night. </p><p>I love hearing from you guys so please leave a kudos or a comment with your thoughts.</p>
        </blockquote></div></div>
<a name="section0003"><h2>3. Act 2</h2></a>
<div class="story"><div class="fff_chapter_notes fff_head_notes"><b>Summary for the Chapter:</b><blockquote class="userstuff">
            <p>Diana begins her first day in 1590.</p>
          </blockquote></div><div class="userstuff module">
    
    <p>
  <strong>INT. CONGREGATION. BALDWIN'S OFFICE. PRESENT DAY. </strong>
</p><p><br/>
Baldwin sits at his desk, tense, his phone pressed to his ear. There is a dialing sound from the phone. </p><p>Matthew's answering machine answers. </p><p>Baldwin hangs up. </p><p>He dials another number. </p><p>
  <strong>INT. SEPT-TOUR. DINING ROOM. PRESENT DAY. DAY </strong>
</p><p><span class="u">YSABEAU:</span> Bonjour.</p><p>
  <strong>INTERCUT BALDWIN/YSABEAU</strong>
</p><p><span class="u">BALDWIN:</span> What's going one? I haven't heard a bloody word and Matthew isn't answering his phone. </p><p><span class="u">YSABEAU:</span> Of course he isn't. They didn't have mobiles in Elizabeth's time. </p><p><span class="u">BALDWIN</span>: They made it then? How can you be sure? </p><p><span class="u">YSABEAU:</span>  You haven't witnessed the witch's magic Baldwin. She's very powerful. According to her aunts she was even time-walking as an infant. </p><p><span class="u">BALDWIN:</span> Charming. But it's not exactly proof. </p><p><span class="u">YSABEAU:</span> I'll have proof soon. </p><p>Ysabeau hangs up the phone. We stay on her side of the scene. </p><p>She is reading the paper, specifically an article about two Elizabethan miniatures soon to be going to auction.  </p>
<hr/><p>
  <strong>INT. OLD LODGE. MASTER BEDROOM. 1590. MORNING</strong>
</p><p>Diana is asleep. Light seeps through the canopy drapes pulled around the bed frame.</p><p>Slowly she opens her eyes. She is alone in bed.</p><p><span class="u">DIANA:</span> Matthew?</p><p>Diana pulls the curtains back.</p><p>Matthew sits at the writing desk musing over parchments.</p><p><span class="u">DIANA:</span> What are you doing?</p><p><span class="u">MATTHEW:</span> Reviewing the reports from Scotland. Reading Lady Cromwell's latest complaint. I'd forgotten all about these. </p><p><span class="u">DIANA:</span> Sounds like Elizabethan Matthew was kept busy. </p><p><span class="u">MATTHEW (teasing):</span> He was practically run off his feet. </p><p>Matthew starts walking over to the Diana on the bed. </p><p><span class="u">DIANA:</span> Not too busy to help his new wife find a witch to teach her how to control her magic I hope. Or else we may never make it back home. </p><p><span class="u">MATTHEW:</span> I know. We'll find one. </p><p>Matthew eases his way through the curtains. </p><p>He crawls up beside Diana. </p><p>He tugs lightly at the string that's holding her nightgown together at the collar.</p><p><span class="u">MATTHEW:</span> I feel compelled to tell you; married women don't wear these.</p><p>Matthew edges the sleeve off her shoulder.</p><p>He trails kisses down the newly revealed skin.</p><p>They relax into the moment, things get slowly more heated.</p><p>Matthew pulls away with a groan. </p><p>He looks expectantly at the curtains. </p><p>The curtains are forcefully pulled aside revealing Kit and another young man, Sir Walter</p><p>Raleigh at the foot of the bed. </p><p><span class="u">KIT:</span> Well? </p><p><span class="u">WALTER:</span> Well what? You've seen my drawings from Roanoke Kit. The woman looks nothing like the natives I encountered in Virginia. </p><p>Matthew ties Diana's dress back together. She sits up, pulling up the sheet to cover herself. </p><p><span class="u">KIT</span>: But she must be from the New World, or Africa. I may not recognise her accent but it's so strong one can barely understand her.   </p><p><span class="u">MATTHEW:</span> Diana, meet Sir Walter Raleigh.</p><p>Walter bobs his head in Diana's direction.  </p><p>Diana stares at him, wide-eyed with disbelief. </p><p><span class="u">WALTER:</span> How do you do? </p><p><span class="u">KIT:</span> Could you at least talk some sense into Matthew? He's taken up with a witch for God's sake! </p><p><span class="u">WALTER:</span> She's a witch? </p><p><span class="u">MATTHEW:</span> Come now Walter. I thought you were above such prejudices. </p><p><span class="u">WALTER:</span> But you hate witches Matthew. The last time we spoke of Hecate you said... </p><p><span class="u">MATTHEW:</span> Well I like this one. </p><p>Beat. </p><p><span class="u">WALTER:</span> Perhaps she's fleeing persecution in Berwick and Matthew has gallantly offered her protection.</p><p><span class="u">KIT</span>: Of course! </p><p><span class="u">MATTHEW:</span> Must we discuss this now? Or will you permit me to get dressed first? </p><p><span class="u">WALTER</span>: Yes, quite right. Come down for breakfast and you can regale us with tales of your adventures. Oh and Henry Percy has arrived. He's waiting for you in the entrance hall.  </p><p><span class="u">MATTHEW:</span> He has manners then.</p><p><span class="u">WALTER:</span> He is overly prone to formalities, yes. Right then, we shall see you downstairs. </p><p>Kit and Walter exit. </p><p>Diana playfully slaps Matthew on the chest.</p><p><span class="u">MATTHEW:</span> Ow! What was that for?</p><p><span class="u">DIANA:</span> For not telling me who your friends are! Christopher Marlow, Sir Walter Raleigh and Sir Henry Percy the Earl of Northumberland is waiting downstairs. We practically have the entire School of Night in the house.  </p><p><span class="u">MATTHEW:</span> Not all of them. </p><p><span class="u">DIANA:</span> You can't expect me to remain blasé when you introduce me to men I've spent my entire life studying.</p><p><span class="u">MATTHEW:</span> They're just men Diana. </p><p><span class="u">DIANA:</span> Intelligent men. They've already figured out I'm different. What are we going to tell them?</p><p><span class="u">MATTHEW:</span> The truth, I suppose. That you're a witch and a time walker from the New World. </p><p><span class="u">DIANA:</span> The truth? Are you sure that's a good idea. </p><p>Matthew raises his eye brow at the implication that he could be wrong. </p><p>Matthew gets up from the bed. Diana watches him. </p><p><span class="u">DIANA:</span> What was that talk about Berwick? Was Walter referring to the witch trials? </p><p><span class="u">MATTHEW:</span> Yes. James Stuart has started interrogating Angus Sampson on suspicion of witchcraft.</p><p><span class="u">DIANA:</span> I'll need to be careful then. </p><p><span class="u">MATTHEW:</span> It'll take another twenty years for the hysteria to reach England. We'll be long gone by then. You're perfectly safe here.  </p><p><span class="u">DIANA:</span> I wouldn't be so sure.</p><p>There is a creak as the clothing chest is eased open, alerting Diana to the presence of the pale, older-looking man (Pierre) who has quietly, discreetly entered the room during Diana and Matthew's conversation.  </p><p>Pierre is pulling clothes out of the trunk for Matthew. </p><p>Diana pulls the sheets up to her chin again. </p><p>She looks from Pierre to Matthew. </p><p><span class="u">MATTHEW:</span> Oh, that's my valet Pierre. He's discreet and trustworthy to a fault. We can speak freely in front of him. Pierre, meet the new Mistress Roydon. </p><p>Pierre stands up, a bundle of clothing cradled in his arms. </p><p>He bows to Diana. </p><p><span class="u">PIERRE:</span> Madam.</p><p>Pierre places the pile of clothes at the foot of the bed. </p><p><span class="u">PIERRE:</span> For you Monsieur.</p><p><span class="u">MATTHEW:</span> Thank you Pierre. Would you send Francoise up with clothes for my wife? I'm sure Louisa has left a trunk here somewhere. </p><p>Pierre bows and exits.</p><p>Matthew begins dressing himself in the clothes Pierre picked out. It's a simple outfit, breeches and jerkin. Diana watches him.</p><p><span class="u">DIANA:</span> Who is Elizabethan Matthew?   </p><p>Matthew gives a big, overly theatrical bow to Diana.</p><p><span class="u">MATTHEW:</span> Matthew Roydon, friend to poets. At your service. </p><p><span class="u">DIANA:</span> The Matthew Roydon. Historian's know almost nothing about you.</p><p><span class="u">MATTHEW:</span> Does that surprise you, now that you know who Matthew Roydon is?</p><p><span class="u">DIANA:</span> Were you a poet too?</p><p><span class="u">MATTHEW:</span> Not exactly.</p><p><span class="u">DIANA</span>: Well I know you weren't a scientist so...What were you?</p><p><span class="u">MATTHEW:</span> I was...I am, a spy.</p><p><span class="u">DIANA:</span> A spy? How did that happen? Isn't that risky for a French, Catholic Vampire in Protestant England?</p><p>Matthew shrugs.</p><p><span class="u">MATTHEW:</span> You're good at uncovering secrets. I'm good at keeping them.</p><p>Francois bustles into the room. Multiple pieces of clothing are draped over her arm.                                                <br/>
She rounds on Matthew. </p><p><span class="u">FRANCOIS:</span> Out! I need to get Madam dressed before she can greet his lordship.</p><p>Matthew walks backwards as he is herded out of the room so he can still speak to Diana.</p><p><span class="u">MATTHEW</span>: I'll see you downstairs.</p><p>Matthew exits. </p><p>Francois shuts the door behind him. </p><p><span class="u">FRANCOIS</span>: Madam Louisa's garments shall have to do for the moment madam, until we can have some of your own made.</p><p>She rids Diana of the night shift. </p><p>Diana attempts to cover herself. </p><p>Francois throws a fresh shift over Diana. </p><p>Francois wraps a stay around Diana's torso a laces it securely.  </p><p>She wraps a bum roll around Diana's waist over the stay.</p><p>Francois ties a 'belt' with two pockets on either side around Diana's waist. The pockets hang over the bum roll. </p><p><span class="u">DIANA:</span> Are those pockets? </p><p>A petticoat is brought down over Diana's head to sit upon the bum roll at her waist.  </p><p>Finally a bodice is wrapped around her torso on top of the stay and is laced securely at Diana's back.  </p><p>An over-skirt is brought down ontop of the petticoat and laced to attach to the bodice. </p><p>Francois then gets Diana to sit by the vanity while she does her hair (complete with hairnet). </p><p>A half-ruffle is attached to Diana's bodice. </p><p>Diana looks at herself in the mirror. She now looks like an Elizabethan woman. </p>
<hr/><p>
  <strong>INT. OLD LODGE. ENTRANCE HALL. 1590. MOMENTS LATER</strong>
</p><p><br/>
ESTABLISHING SHOT OF THE GRAND ENTRANCE HALL.CAMERA ENCIRCLES THE ROOM STARTING FROM THE DOOR AND ENDING AT THE STAIRCASE.</p><p>One of the largest rooms in the house, the entrance hall is homely and comfy, inclusive of a fireplace. Henry Percy stands before the fire warming his hands. His back is to the stairs. </p><p>Matthew gallops down the staircase.  </p><p><span class="u">MATTHEW:</span> Hal!!</p><p><span class="u">HENRY:</span> Matthew. I'm so pleased you made it back to Woodstock so quickly.</p><p>Matthew embraces his friend. </p><p><span class="u">MATTHEW:</span> It's good to see you old friend. You must be famished. Surely chef could find you something to eat. </p><p><span class="u">HENRY</span>: Of course, Kit and Walter are already eating but it did not feel right to eat without first meeting the new mistress of the house.</p><p><span class="u">MATTHEW:</span> Upstaged by Kit again I see. I had hoped to tell you myself.</p><p><span class="u">HENRY:</span> What does it mm..matter who shares such happy news. But you have no beard Matt. Have you been ill. </p><p><span class="u">MATTHEW</span>: A touch of ague, nothing more. Marriage has cured me.</p><p>Henry sees something over Matthew's shoulder. </p><p><span class="u">HENRY:</span> This must be mistress Roydon.</p><p>Matthew's gaze follows Henry's to the top of the stairs.</p><p>Diana stands at the top of the stairs in full Elizabethan attire. </p><p>Matthew smiles at her. </p><p>She walks down the stairs, holding the banister and struggling slightly in the new gear.  </p><p>Henry bows to her. </p><p><span class="u">HENRY:</span> Mis... mistress Roydon.</p><p>Diana reaches the bottom of the stairs. </p><p>Matthew offers her his arm which she takes. </p><p><span class="u">MATTHEW</span>: Diana, this is Henry Percy, the Earl of Northumberland. </p><p>Diana attempts an awkward curtsy. </p><p>Matthew clutches her arm helping her upright.  </p><p>Henry pretends not to notice.</p><p><span class="u">MATTHEW (whispering into Diana's ear):</span> There's no need for that with Henry.</p><p><span class="u">HENRY:</span> I thank you for you hospitality mistress. It is good of you to suffer your husband's friends so soon.</p><p><span class="u">DIANA:</span> You are most welcome here my Lord.</p><p><span class="u">HENRY:</span> Please, call me Henry, Mistress. </p><p><span class="u">MATTHEW:</span> Henry wished to greet you before breaking his fast. Kit and Walter are already eating. </p><p><span class="u">HENRY</span>: Shall we join them Mistress Roydon?</p><p><span class="u">DIANA</span>: Of course. But you must call me Diana. I cannot called the Earl of Northumberland by his first name if he keeps referring to me as Mistress Roydon. </p><p>Henry extends his arm towards her.</p><p>She takes it.</p><p><span class="u">HENRY</span>: Of course, Diana.</p><p>Henry and Diana, accompanied by Matthew, exit. </p>
<hr/><p>
  <strong>INT. THE OLD LODGE. BREAKFAST ROOM. 1590. MORNING.  </strong>
</p><p><br/>
Kit and Walter devour breakfast and wine. </p><p>Walter is in the middle of a story. </p><p><span class="u">WALTER:</span> She's impossible! The most ungrateful vixen! You all warned me of course but I wouldn't listen.</p><p>Walter breaks off as Matthew, Diana and Henry enter.</p><p><span class="u">KIT:</span> Well, Well. The lovebirds finally appear. </p><p>Matthew and Diana take their seats opposite each other. Diana beside Walter and Matthew beside Kit. </p><p>Henry takes the remaining seat. </p><p><span class="u">KIT:</span> She walks like a man. </p><p><span class="u">MATTHEW</span>: Kit! </p><p>Beat. Awkward silence. </p><p><span class="u">WALTER</span>: I don't believe I had the chance to welcome you to Woodstock this morning Madam. </p><p><span class="u">DIANA:</span> Thank you Sir. </p><p>Walter frowns at the strange accent. </p><p>Diana looks at the meal of eggs and sausages before her. </p><p>Her hand instinctively goes to the side of the plate in search of cutlery but there is none.  </p><p>She frowns. </p><p>She looks up at Matthew whose watching her. </p><p>Matthew breaks off a piece of the sausage with his fingers and plops it into his mouth. </p><p>Diana copies his movement. </p><p>Walter watches this bizarre interaction. </p><p><span class="u">WALTER</span>: So, will you tell us where you found her Matthew? </p><p>Diana looks at Matthew. </p><p><span class="u">DIANA:</span> Do you still want to tell them the truth? </p><p><span class="u">WALTER:</span> That is usually the best approach Mistress. </p><p>Matthew nods encouragingly at Diana. </p><p><span class="u">DIANA:</span> Kit was right. I am from the New World. </p><p>Kit raises his glass in victory. </p><p>Walter frowns. </p><p><span class="u">DIANA:</span> From the New World to come. </p><p>Beat. Kit, Henry and Walter look between each other, confused.  </p><p><span class="u">HENRY:</span> I'm not sure we understand your meaning Diana. </p><p><span class="u">MATTHEW:</span> You've all heard the rumours about time spinners. Diana is one. </p><p><span class="u">KIT:</span> She's from the future? </p><p>Matthew nods. </p><p><span class="u">WALTER:</span> What brings your here then, Mistress? </p><p><span class="u">DIANA:</span> That's quite a long story. </p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff">
          <p>Act 3 and 4 are coming soon where the past becomes infinitely more complicated for our witch!   </p><p>Hope you guys are enjoying it so far, please leave a kudos or a comment if you are, I love to hear from you guys :)</p>
        </blockquote></div></div>
<a name="section0004"><h2>4. Act 3</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>
  <strong>INT. OLD LODGE. BREAKFAST ROOM. A SHORT TIME LATER. </strong>
</p><p>Diana has just concluded telling her story. Henry, Walter and Kit are quiet, processing the information. Their breakfast has been eaten some more since the last scene. </p><p><span class="u">KIT:</span> So this book, this Ashmole manuscript...You believe that it contains details of our origins?</p><p><span class="u">MATTHEW:</span> Yes. Finding it could change the very fabric of creature civilisation.</p><p><span class="u">DIANA:</span> We believe that it hasn't been enchanted yet, so it should be easier to find now then in our own time. Only we're not sure where to start looking.</p><p><span class="u">HENRY:</span> I've never heard of such a boo..book, but perhaps you should consult John Dee. It is sa...said that he has the largest collection in Christendom. </p><p><span class="u">MATTHEW</span>: Of course, but contacting John Dee would alert the Queen to our presence and I would rather her involvement wasn't required.</p><p><span class="u">WALTER:</span> A fair concern. If Elizabeth finds out you married without her permission you'd find your own head on a spike.</p><p><span class="u">MATTHEW:</span> She could certainly make life difficult. Kit you still have contacts in Cambridge and Oxford. Perhaps you could find someone willing to search the university libraries.</p><p>Beat. Kit's reluctance is evident. </p><p><span class="u">MATTHEW:</span> I would be grateful. </p><p><span class="u">KIT:</span> Well... I suppose so. Yes. If it is as important as you say. </p><p><span class="u">MATTHEW:</span> Thank you, that means a great deal. In the meantime Diana needs a teacher. Her education as a witch was overlooked after her parent's death. Surely someone among you knows a witch, or knows someone who knows someone who is a witch.</p><p>Beat.</p><p><span class="u">WALTER:</span> What about Widow Beaton?</p><p><span class="u">MATTHEW:</span> Widow Beaton. I'd forgotten about her.</p><p><span class="u">DIANA</span>: Who's Widow Beaton?</p><p><span class="u">MATTHEW</span>: She's a wise woman. A witch that lives in the nearby village. But would she come if we summoned her? Beaton was never particularly fond of me.</p><p><span class="u">KIT</span>: Widow Beaton will come if it's a member of the congregation that requests it. </p><p><span class="u">DIANA:</span> Congregation? </p><p>Diana looks at Matthew. He glares at Kit for outing him. </p><p><span class="u">KIT:</span> Has your husband not told you of his involvement with the council?  </p><p><span class="u">DIANA (to Matthew):</span> Tell me you're not. Tell me you didn't keep this from me </p><p><span class="u">MATTHEW:</span> I can't tell you that.  </p><p>They look at each other sadly for a moment. </p><p>Matthew turns his attention back to the men. </p><p><span class="u">MATTHEW:</span> We'll send for Widow Beaton in the morning. </p><hr/><p><strong>INT. SEPT-TOUR. GUEST BEDROOM. PRESENT DAY. DAY</strong> </p><p><br/>It is a rather extravagant guest room and the door has been left open. Sarah and Emily are slowly unpacking. Tabitha is sleeping peacefully on the bed. </p><p>Ysabeau appears in the doorway. </p><p>She knocks on the door frame. </p><p><span class="u">SARAH:</span> You don't need to knock, it's your house.</p><p><span class="u">YSABEAU:</span> If that's how you behave, I am glad not to be your house guest.</p><p><span class="u">SARAH:</span> Ha! I would never have let you in my house.</p><p><span class="u">YSABEAU:</span> I was tempted to not let you stay here either, but I've never been good at refusing my son anything. My husband used to tease me for it. He said I was too soft with Matthew.</p><p><span class="u">EMILY:</span> Were you after something Ysabeau?</p><p><span class="u">YSABEAU:</span> I want to show you both something. Follow me.</p><p>Ysabeau exits without checking that Sarah and Em are following.  </p><p>Sarah and Emily look at each other, curious. </p><p><strong>EXT. WOODLANDS. SHORTLY AFTER</strong> </p><p>Ysabeau, Emily and Sarah are hiking uphill through the trees. Ysabeau is leading the group while the others fall behind struggling slightly with the hike. </p><p>Ysabeau looks back at them. </p><p><span class="u">YSABEAU:</span> I know this walk can be a struggle for warmbloods but don't worry, we're nearly there. </p><p>Ysabeau keeps walking. Sarah glares. </p><p>Sarah and Emily trudge along after Ysabeau. </p><p>
  <strong>EXT. RUINED SHRINE TO ARTEMIS. SHORTLY AFTER. </strong>
</p><p>The shrine is in a state of romantic ruin, amidst a backdrop of the surrounding shrubbery.It sits upon a hilltop that is flatter than one might expect.The ground is punctuated with protruding stones that are placed too symmetrically to be natural, these stones have been turned practically green due to the years of overgrown vegetation and moss that has also lived on the site. The focal point of the structure is the large Stone altar that is situated precisely in the center of the hill top. It is evident that this altar is the only thing that has been regularly maintained in recent decades. We get the impression that this centerpiece was once accentuated by the three pillars that surrounded it. Now these pillars have all been destroyed to various degrees and all that really remains are the bases.      <br/>ESTABLISHING SHOT OF THE ALTAR. </p><p>Ysabeau, Emily and Sarah reach the top of the hill. </p><p>Emily and Sarah stare at the site. Mesmerised.</p><p><span class="u">Ysabeau:</span> Many, many years ago a temple dedicated to the Goddess Diana used to stand here. It was said that the place held the power to bring seekers closer to the Goddess.</p><p><span class="u">EMILY:</span> (nodding) There is power here. I can feel it.</p><p><span class="u">YSABEAU:</span> Witches have been drawn to this place ever since I was a little girl. Perhaps it holds some magical properties that connect the Wicca to their Goddess. I wouldn't know. I do know that it brought my husband comfort whenever he was missing his children. I thought perhaps it could do the same for you.</p><p>Sarah seems particularly taken aback by the thoughtfulness of the gesture.</p><p><span class="u">SARAH:</span> Thank you.</p><p><span class="u">EMILY:</span> Yes thank you Ysabeau. This is very thoughtful. </p><p>Neither Sarah nor Emily look to be in a hurry to leave. </p><p><span class="u">YSABEAU:</span> You'll find your way back to the house when you are ready.</p><p>In the periphery we can see Ysabeau begin to make her descent back down the hill. </p><p>A breeze blows over the place. Emily and Sarah breath in deeply. </p><p>They smile at each other and, holding hands, make their way up to the altar.</p><hr/><p>
  <strong>INT. OLD LODGE. MASTER BEDROOM. 1590. NIGHT. </strong>
</p><p>Matthew and Diana are alone in their room getting ready for bed. </p><p><span class="u">MATTHEW</span>: I nearly forgot. I found something for you. </p><p>Matthew walks over to his desk and pulls out a small leather-bound book from one of the nooks in his writing desk. </p><p>He presents it to Diana. She looks rather weary after such an eventful day.</p><p><span class="u">MATTHEW:</span> This is a commonplace book. The Elizabethan equivalent of a laptop computer I suppose. You're a woman of letters and need somewhere to put them.</p><p>Diana takes the book without much response. </p><p><span class="u">MATTHEW:</span> I hope it'll help you feel more at home here.</p><p><span class="u">DIANA</span>: I'm sure it will. Thank you.</p><p><span class="u">MATTHEW:</span> Diana, are you alright?</p><p><span class="u">DIANA:</span> I'm fine.</p><p><span class="u">MATTHEW:</span> You're not fine. What's troubling you?</p><p><span class="u">DIANA:</span> Why didn't you tell me you were on the congregation? </p><p><span class="u">MATTHEW:</span> I didn't think it was important </p><p>Diana looks incredulous. </p><p><span class="u">MATTHEW:</span> I didn't. The de Clairmont seat on the council rotates every 60 years. 1590 happens to be during my term. It'll be to our benefit anyway, if it encourages Beaton to cooperate. </p><p><span class="u">DIANA:</span> It's too soon to bring in a witch. </p><p><span class="u">MATTHEW:</span> What are you talking about? The sooner the better. </p><p><span class="u">DIANA:</span> We can't go asking around for a witch with the Berwick trials looming in the background. Poor Beaton will be terrified and it'll end badly.</p><p><span class="u">MATTHEW:</span> But she'll know you're a witch too. She wouldn't dare accuse you.  </p><p><span class="u">DIANA:</span> She might! Listen to me Matthew, these trials are happening because things are difficult right now. There's plagues and food shortages and people are looking for a scapegoat.     <br/>I'm noticeably different Matthew. The way I walk, the way I talk. I don't even know how to pray like a Christian. I'm an easy scapegoat.  I need to learn how to fit in before we can call in Widow Beaton, otherwise I'll be too vulnerable.  </p><p><span class="u">MATTHEW:</span> You're worried for nothing. </p><p><span class="u">DIANA:</span> Matthew!  </p><p><span class="u">MATTHEW:</span> This can't wait Diana. </p><p>He takes her face in his hand. </p><p><span class="u">MATTHEW:</span> I need to you trust me. </p><p>He goes to kiss her but she pushes him away. </p><p><span class="u">DIANA:</span> I don't find arguments the least bit arousing. </p><p><span class="u">MATTHEW (clearly annoyed):</span> I'm not arguing. </p><p>Beat </p><p>Matthew grabs his doublet again and heads towards the door. </p><p><span class="u">MATTHEW:</span> I'm going downstairs. </p><p>Matthew pauses at the door for moment. </p><p><span class="u">MATTHEW (CONT'D):</span> If you really want to behave like an Elizabethan woman stop questioning me. <br/>Matthew exits. </p><p>Diana is left looking incredulously at Matthew's retreating figure.</p><hr/><p>
  <strong>INT. OLD LODGE. RECREATION ROOM. MOMENTS LATER</strong>
</p><p><br/>The room is dark, lit only by the one candelabra. It is set up for recreation inclusive of a chess set, a small card table and comfortable looking chairs pushed into dark corners. We might notice the figure of Kit seated at the chess board, holding the figurine of the Goddess Diana in his hands. Matthew enters and walks towards the wine rack.  </p><p>He pours himself a drink and takes a sip.  </p><p><span class="u">KIT:</span> And where are you in truth my dear, sweet Matt?</p><p>Matthew turns to face the demon.</p><p><span class="u">MATTHEW:</span> I see you're still speaking in tongues Kit.</p><p><span class="u">KIT:</span> You are not our Matthew are you? You belong to this future of the witch's.</p><p>Matthew nods. </p><p>Beat. Kit had already suspected this information but the confirmation of it seems to hurt him. <br/>Kit focuses his attention on the figurine he is holding.</p><p><span class="u">KIT:</span> This is a pretty little piece you've brought with you. The White Queen. The Goddess Diana.</p><p>Kit looks back up at Matthew.</p><p><span class="u">KIT:</span> The bewitching Huntress.</p><p><span class="u">MATTHEW:</span> Please don't start Kit.</p><p><span class="u">KIT:</span> You truly married her, in violation of an agreement that is centuries old. What were you thinking?</p><p><span class="u">MATTHEW:</span> I was thinking that I loved her.</p><p>Matthew uses these words sharply, knowing full well the impact they will have. </p><p>They hit their target, he might as well have slapped Kit.</p><p><span class="u">KIT:</span> So it's like that is it?</p><p><span class="u">MATTHEW:</span> Yes. It is.</p><p>Beat. Kit looks contemplatively at the figurine.  </p><p>He holds it up. </p><p><span class="u">KIT:</span> I'll play you for her. I assume you still remember how to play chess? <br/>Matthew looks at the figurine. </p><p>He chugs back the rest of his wine. </p><p><span class="u">MATTHEW:</span> Why not?</p><p>Matthew walks over to join Kit at the chess board and together the two of them set the board up for a game, Matthew is playing white, Kit is playing red. </p><p>The figurine of Diana is placed in front of Matthew in the position of the White Queen.</p>
  </div></div>
<a name="section0005"><h2>5. Act 4</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>
  <strong>INT. SOTHEBY AUCTION HOUSE. ARCHIVAL ROOM. PRESENT DAY. DAY.</strong>
</p><p><br/>The room looks not unlike a vault but is filled with an assortment of artworks and other historical artefacts. A young woman, mixed race, in her early twenties (Phoebe Taylor) is walking around the room, consulting the call cards in her hands to organise the soon-to-be auctioned artefacts into order. </p><p>She stops to admire one of the paintings, an early modern portrait, she smiles at it.</p><p><span class="u">PHOEBE:</span> Well aren't you beautiful.</p><p>Phoebe's boss (Sylvia), enters. </p><p><span class="u">SYLVIA:</span> Phoebe.</p><p>Phoebe turns around.</p><p><span class="u">PHOEBE:</span> Yes Sylvia?</p><p><span class="u">SYLVIA:</span> You don't have any plans tonight do you?</p><p><span class="u">PHOEBE:</span> Well...I...</p><p><span class="u">SYLVIA:</span> Good. I need you to stay late tonight. We have an important client coming in to view an artifact and someone needs to be here to let him in.</p><p><span class="u">PHOEBE</span>: Who is this important client?</p><p><span class="u">SYLVIA:</span> His name is Dr. Whitmore, he's from Oxford and that is all the Sotheby's confidentially policy entitles you to know. So, you'll stay?</p><p>Phoebe, clearly uncomfortable, swallows her pride and nods.</p><p><span class="u">PHOEBE:</span> Of course.</p><p>Sylvia walks out of the room, calling over her shoulder. </p><p><span class="u">SYLVIA:</span> Excellent. He should be getting here around seven.</p><p><span class="u">PHOEBE:</span>(incredulous muttering) Seven?</p><hr/><p>
  <strong>EXT. SEPT-TOUR. DRIVEWAY. PRESENT DAY. TWILIGHT </strong>
</p><p>Gerbert's fancy car drives up the driveway. </p><p>It comes to stop and Gerbert gets out. </p><p>
  <strong>EXT. SEPT-TOUR. DOORWAY. </strong>
</p><p>Gerbert knocks once upon the door.</p><p>Ysabeau opens it.</p><p>Gerbert greets Ysabeau with a grand courtly bow. <br/>He kisses her hand.</p><p><span class="u">GERBERT:</span> Le beau Ysabeau (the beautiful Ysabeau.)</p><p><span class="u">YSABEAU</span>: Gerbert. To what do I owe the pleasure?</p><p><span class="u">GERBERT:</span> I've come to ask you politely. Where is your son?</p><p><span class="u">YSABEAU:</span> I wish I could tell you.</p><p><span class="u">GERBERT:</span> Ysabeau. I know you. The warrior vampiress who hunted that coven in Trier all those centuries ago. You can't have any more fondness for Matthew's little toy than I do.</p><p><span class="u">YSABEAU:</span> If you remember Trier, Gerbert, then you'll remember that all those years ago vampires wrote their own justice instead of allowing themselves to be pawns for the congregation.</p><p><span class="u">GERBERT:</span> A simpler time.</p><p><span class="u">YSABEAU:</span> It was far more ruthless. Were a vampire to trespass onto another's land for instance. The consequences would be far more severe then anything the congregation has the imagination for. I always preferred vampire justice.</p><p>With her threat clearly made, Ysabeau goes to close the door in Gerbert's face.</p><p>He stops the door with his hand.</p><p><span class="u">GERBERT</span>: I'm paying you this visit as a courtesy Ysabeau, because of our long friendship. But this is your last chance. We are running out of patience.</p><p><span class="u">YSABEAU</span>: Goodbye Gerbert.</p><p>Ysabeau closes the door on him.</p><p>He glowers at the door for a moment. </p><p>A scent hits his nose.</p><p>He closes his eyes and inhales deeply.</p><p><span class="u">GERBERT:</span> Witches.</p><hr/><p>
  <strong>INT. OLD LODGE. THE ENTRANCE HALL. 1590. MORNING.</strong>
</p><p><br/>Kit and Walter are staring out the window. They watch as a small, hunched, elderly woman (Widow Beaton) makes her way up the path towards the house. </p><p><span class="u">WALTER:</span> God's teeth! Is that Widow Beaton?</p><p><span class="u">KIT</span>: Must be. She's clearly a hag by the look of her. </p><p>Diana is seated tensely on an armchair with her hands clasped in her lap. Matthew is standing behind her. </p><p>Pierre moves to stand ready at the door. </p><p>There's a knock. </p><p>Pierre opens the door revealing Widow Beaton, carrying a large knitted bag.   </p><p>Matthew walks towards her. </p><p><span class="u">MATTHEW:</span> Thank you for coming to see us Widow Beaton.</p><p><span class="u">BEATON:</span> Master Roydon.</p><p>Widow Beaton's eyes survey the room as she enters. </p><p>Her eyes settle on Diana in the armchair. Diana forces herself to meet Widow Beaton's eyes.</p><p><span class="u">BEATON:</span> This is the woman your letter spoke of?  </p><p><span class="u">MATTHEW:</span> Yes. This woman shows magical talent, but she needs guidance. Can you help her? </p><p><span class="u">BEATON</span>: A witch?</p><p><span class="u">MATTHEW:</span> Yes, though we're not certain what powers she possesses. I would be grateful if you could examine her.</p><p><span class="u">BEATON:</span> Very well.</p><p>Beaton walks towards Diana. Diana stands up. </p><p>Beaton raises her hand and places the flat of it firmly upon Diana's forehead. Her eyes closed as if meditating, breathing deeply and sticking her chin out with the air of a showman.</p><p>Beat. The room is silent as all eyes are on Beaton. </p><p>Beaton pulls away from the Diana. </p><p><span class="u">BEATON:</span> 'Tis as I suspected Master Roydon. This woman is no witch.</p><p>Kit chuckles. </p><p><span class="u">KIT:</span> You've been played for a fool Matthew. I suppose the poor wench was hoping to get some gain from this.</p><p><span class="u">MATTHEW:</span> Surely there is some other way to determine the woman's powers beyond a mere touch.</p><p><span class="u">BEATON:</span> Of course. There are many tests that can be performed to determine whether someone is a witch. The priests would rely on the recitation of prayer for instance. it is said that if a creature stumbles over the words even for an instant then it is a sign that the devil lives within them. Perhaps the lady could recite her prayers?  </p><p><span class="u">MATTHEW:</span> I was hoping for something beyond a mere superstition.</p><p><span class="u">BEATON:</span> Only a fool would ignore a well accepted superstition my Lord. Nonetheless, there are other ways.</p><p>Widow Beaton reaches for the bag that she brought with her. From it she pulls out a hefty looking bible, a bell and a candle. </p><p>She begins to speak whilst she sets out an arrangement on the table before them, the showman returning. </p><p><span class="u">BEATON:</span> In times past, when one was discovered to be a witch they were cast out of the church.</p><p>Beaton picks up the bell in her left hand and with two shakes of her wrist has it toiling with the air of practiced performer. She has the rapt attention of everyone in the room.</p><p><span class="u">BEATON (CONT'D):</span> They would ring the bell to indicate that the witch was dead. </p><p>Beaton releases the bell and it remains suspended in mid-air, continuing to ring. </p><p>She picks up the book. It falls open in her arms.<br/><br/><span class="u">BEATON:</span> The priest would then take up a holy book and close it to symbolize that the witch had been rejected by God.</p><p>Beaton slams the book shut with a thunderous slap that makes the humans flinch. </p><p>Beaton sets the closed book upon the table.</p><p>She picks up the candle. </p><p>Beaton sets the candle alight just by pointing her finger.</p><p><span class="u">BEATON:</span> The priest snuffed out a candle, to signify that the witch had no soul.</p><p>Beaton snuffs out the flame with her bare fingers. </p><p>She sets the candle in its holder. Beaton finishes her performance</p><p>She gestures Diana towards the arrangement of items.</p><p><span class="u">BEATON:</span> A true witch can relight the flame, open the pages of the book and stop the bell from ringing. Can you perform these acts girl?</p><p>Diana is visibly terrified.  </p><p>
  <strong>BEGIN FLASHBACK:</strong>
  <br/>
  <strong>EXT. THE BISHOP HOUSE. CIRCA 1999. DAY</strong>
</p><p>The Maddison coven is all gathered around the backyard of the Bishop house, ready and excited to welcome the young, thirteen-year-old Diana into their midst. Emily is among the guests mingling. </p><p>Young Diana is being led out to the crowd by Sarah. </p><p><span class="u">YOUNG DIANA</span>: I can't do this. </p><p><span class="u">SARAH</span>: There's no need to feel nervous Sweetie. It's a simple ceremony. They'll ask you to perform a few simple spells, and then once you prove yourself the fine witch that you are, you'll be a full</p><p>member of the coven.</p><p>Young Diana is not comforted. </p><p>Sarah leads her to the table at the center of the gathering.  The table holds a large bronze bell, the Bishop grimoire, snapped shut, and a candle. </p><p>As Young Diana approaches the crowd quietens and stands aside. </p><p>Concerned, Emily reluctantly takes the bell and rings it. </p><p>She stands back, leaving the bell suspended in the air. </p><p><span class="u">SARAH:</span> Why don't you start with the candle? </p><p>The memory becomes more blurred and fragmented. </p><p>Young Diana attempts to focus. </p><p>She points at the candle...</p><p>Nothing happens. </p><p>Young Diana runs away from the gathering, holding back tears. </p><p>Confused, Sarah goes to follow her. </p><p>Emily stop Sarah with a gentle hand. </p><p>Emily follows Young Diana herself.</p><p>
  <strong>END FLASHABCK:</strong>
  <br/>
  <strong>INT. OLD LODGE. THE ENTRANCE HALL. 1590. DAY </strong>
</p><p>The ringing of the bell is persistent between both memory and present. </p><p>Diana breathes deeply through the anxiety triggered by the memory. </p><p><span class="u">DIANA:</span> I can't do this. </p><p>Matthew walks over to her. </p><p>He holds her gently by her shoulders, and speaks softly into her ear. </p><p><span class="u">MATTHEW:</span> You can do this. You were lighting candles before we left Madison. Why don't you start there? </p><p>Diana nods. </p><p>She takes a deep breath, trying (and failing) to relax. </p><p>She raises her hand towards the candle concentrating....</p><p>Beat. Nothing happens. </p><p>She tries again...</p><p>Beat. Nothing happens.</p><p>There's an air of anti-climax as she lowers her arm.  </p><p><span class="u">MATTHEW:</span> Why don't you try starting with the book?</p><p>Diana again takes a deep breath, extending her hand towards the book this time. </p><p>She concentrates. </p><p>The bell's ringing grows louder....louder... and louder. </p><p>Diana's becomes aware of her own heart beat as it pounds loudly in time to the bell.</p><p>The heartbeat and the bell grow louder...</p><p>...and louder... </p><p><span class="u">DIANA:</span> CAN SOMEBODY PLEASE STOP THAT GOD DAMNED BELL FROM RINGING????!!!!!</p><p>Diana's outburst seems commonly accepted to be an admission of failure. Matthew releases her shoulders, the collectively held breath of onlookers is now released. </p><p>Beaton is smug. She clicks her fingers and the ringing stops. </p><p><span class="u">BEATON:</span> It was as I told you Master Roydon. This woman is no witch. </p><p>Widow Beaton begins packing up her things. </p><p>The room is quiet. The show is over. </p><p>Diana, humiliated and in need of vindication, looks around the room for a way to salvage the moment. </p><p>She notices a pear in a nearby fruit bowl. She can feel the energy within it. </p><p>Diana moves to the fruit bowl and grabs the pear with such vehemence that she regains the attention of Beaton and her audience.</p><p><span class="u">DIANA:</span> If I weren't a witch would I be able to do this?</p><p>Diana focuses on the life within the pear and is able to suck it out (metaphorically speaking, (couldn't resist)) of the fruit. </p><p>The pear shrinks and shrivels, rotting and dying. Diana is left holding a grayed, rotten peach in the palm of her hand. </p><p>A stunned silence. Everyone, including Matthew looks at Diana with something like fear. </p><p>Widow Beaton has gone deathly pale.</p><p>Beat.</p><p><span class="u">BEATON:</span> DEVIL'S WHORE! </p><p>Matthew instinctively lunges towards Beaton. </p><p>Pierre rushes forward to hold him back. </p><p><span class="u">DIANA:</span> I'm only a witch, just like you... </p><p><span class="u">BEATON:</span> YOU ARE NOT LIKE ME!!! I may know witchcraft but I do not conspire with the devil. </p><p><span class="u">MATTHEW:</span> That's enough! </p><p><span class="u">DIANA:</span> I know of no devil. </p><p>Beaton looks around at the gathered group.</p><p><span class="u">BEATON:</span> You sought my advice Master Roydon. Burn her before she damns us all. </p><p>Beaton evacuates the scene immediately. </p><p>Pierre releases Matthew.  </p><p>Everyone else is staring at Diana.</p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff">
          <p>This is the big one folks, hope you enjoy the performance from Widow Beaton :) Please leave a comment or a kudos, I love to hear from you guys.</p>
        </blockquote></div></div>
<a name="section0006"><h2>6. Act 5</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>
  <strong>INT. OLD LODGE. THE ENTRANCE HALL. IMMEDIATELY AFTER. </strong>
</p>
<p><br/>The tension and fear is still apparent in the air. Matthew is seething, Diana is shaking with fear. Kit appears to be the only one unconcerned. </p>
<p><span class="u">KIT</span>: That was quite an exciting scene. That old hag makes for a perfect witch don't you think? I think I shall put her in my next play. </p>
<p><span class="u">DIANA:</span> She wants me burned for witchcraft. </p>
<p><span class="u">KIT</span>: Well...You are a witch. </p>
<p><span class="u">MATTHEW:</span> OUT! All of you OUT! I need to speck with my wife. Alone. </p>
<p>Everyone save Matthew and Diana leave the room. </p>
<p><span class="u">MATTHEW:</span> What happened? </p>
<p><span class="u">DIANA:</span> Exactly what I told you would happen! We've frightened her off and now she'll be screaming 'WITCH' through the village to stop people thinking she's one of us.</p>
<p>Matthew aggressively swings his arm across one of the tables, knocking it's contents free. </p>
<p><span class="u">MATTHEW:</span> SALOPE! I've done Beaton plenty of favours over the years, she should have been more biddable. </p>
<p><span class="u">DIANA:</span> She's afraid Matthew. People do horrific things when they're afraid.  </p>
<p>Matthew pauses contemplatively. </p>
<p>He turns back to Diana. </p>
<p><span class="u">MATTHEW</span>: Why didn't you tell me what you could do to a piece of garden fruit?</p>
<p><span class="u">DIANA</span>: Possibly the same reason you didn't tell me we were going back to a witch hunt or that you were in the congregation. </p>
<p><span class="u">MATTHEW:</span> Diana! </p>
<p><span class="u">DIANA:</span> I didn't know, ok? I didn't know that I could do it I just...she was about to leave and I just...I needed her to know what I could do and then I saw the pear and I could feel its energy...I don't know something just came over me.</p>
<p><span class="u">MATTHEW</span>: It was instinctive. </p>
<p><span class="u">DIANA:</span> Yeah. I guess. It's not important. None of that matters now anyway. Beaton is going to talk and we can't stop her. I'm not safe here Matthew. We have to leave Woodstock. </p>
<hr/>
<p>
  <strong>INT. SEPT-TOUR. LIVING ROOM. PRESENT DAY. NIGHT. </strong>
</p>
<p>Emily and Sarah enter. </p>
<p>Ysabeau is already seated on the couch perusing a newspaper, a glass of blood in front of her. </p>
<p>Sarah eyes the glass worriedly. </p>
<p><span class="u">YSABEAU:</span> You had a nice day? </p>
<p><span class="u">EMILY:</span> It was lovely thank you. </p>
<p>Sarah and Emily go to leave the room but Ysabeau calls out to them. </p>
<p><span class="u">YSABEAU:</span> Gerbert paid me a visit today. </p>
<p>Sarah and Emily look at each other alarmed. </p>
<p>They turn back to Ysabeau. </p>
<p><span class="u">SARAH:</span> He did? What did he want? </p>
<p><span class="u">YSABEAU:</span> He wanted to know where Diana and Matthew were of course.</p>
<p>Sarah and Emily's alarm grows. </p>
<p><span class="u">YSABEAU:</span> Don't worry. He hasn't the faintest idea where they've gone. But the congregation will not stop hunting them until they are found so we need to be careful. </p>
<p><span class="u">SARAH</span>: But they'll be safe in the past. The congregation won't be able to reach them. </p>
<p><span class="u">EMILY:</span> They could still find them. Depending on how long they're gone Diana and Matthew are likely to leave some kind of mark on the past. Something that might be noticeable in our present. </p>
<p><span class="u">YSABEAU:</span> We have to keep our eyes open and find anything that might link Diana and Matthew to the past before Gerbert and Knox get their paws on it.     </p>
  </div></div>
<a name="section0007"><h2>7. Act 6</h2></a>
<div class="story"><div class="userstuff module">
    
    <p>
  <strong>INT. SOTHEBY'S AUCTION HOUSE. RECEPTION. PRESENT DAY. NIGHT </strong>
</p><p><br/>Phoebe is sitting behind the reception desk, her feet crossed up on the desk. </p><p>She is scrolling through her phone which reveals the time to be 9.34.  </p><p>
  <strong>EXT. LONDON STREETS. PRESENT DAY. NIGHT</strong>
</p><p>Marcus is walking along the street on his phone.</p><p><span class="u">MARCUS (into the phone):</span> This is the third wild goose chase you've sent me on in as many days Grandmere. You know I do actually have other things to be doing. (Pause.) Yes, well the next time your intuition is telling you things can you send somebody else? (Pause.) Look, I'm here now. I'll call you when I see them. Bye. </p><p>Marcus hangs up. </p><p>He stops among the row of houses in front of narrow white building. </p><p>
  <strong>EXT. SOTHEBY'S AUCTION HOUSE. FRONT DOOR. NIGHT </strong>
</p><p>There are steps leading to door with a buzzer bell beside it. Marcus walks up the steps. </p><p>He tries the door but it is locked. </p><p>He presses the buzzer. </p><p><strong>INT. SOTHEBY'S AUCTION HOUSE. RECEPTION. NIGHT</strong> </p><p>Phoebe hears the buzzer. </p><p>She looks up almost startled. </p><p>She gets up and goes to the corresponding video speaker at the door. </p><p>She presses the button and a live video stream of Marcus at the front door appears on the screen. </p><p><span class="u">PHOEBE:</span> Sotheby's auction house. </p><p><span class="u">MARCUS (on the video speaker.):</span> Hi, I'm Marcus Whitmore. I believe Sylvia left something for me. </p><p>Phoebe releases the speaker button. </p><p><span class="u">PHOEBE (under her breath):</span> Finally. </p><p>She presses the speaker button. </p><p><span class="u">PHOEBE:</span> Alright. Come on up Dr Whitmore. </p><p>She presses the appropriate button and buzzing sounds emerge. </p><p>
  <strong>EXT. SOTHEBY'S AUCTION HOUSE.FRONT DOOR. NIGHT </strong>
</p><p>The buzzing is heard. </p><p>Marcus open the door and heads inside, where another set of stairs for him to climb becomes visible. </p><p>
  <strong>INT. SOTHEBY'S AUCTION HOUSE. RECEPTION. NIGHT</strong>
</p><p>Phoebe opens the door just as Marcus is finishing his ascent of the interior stairs.  </p><p><span class="u">PHOEBE:</span> Hello. Welcome to Sotheby's. </p><p><span class="u">MARCUS:</span> Hi. </p><p>From the doorway Marcus looks past Phoebe and spies the elaborate wooden box on the desk.</p><p><span class="u">MARCUS (CONT'D):</span> Ah, that'll be it.</p><p>He goes to move past Phoebe, but she grabs him by the arm to stop him. </p><p>Marcus looks at her hand on his arm, surprised. </p><p>She drops her hand but remains between him and the box. </p><p><span class="u">PHOEBE:</span> Huh. Ummmm. I need to see some identification before I can show you the artifacts. </p><p>Marcus stares at her incredulously, but evidently decides it's not worth the argument.</p><p>He pulls out his hospital staff card and shows it to her.  </p><p><span class="u">MARCUS:</span> This is all I've got on me I'm afraid. </p><p>Phoebe examines it. It proclaims him to be Marcus Whitmore from Oxford.</p><p><span class="u">PHOEBE:</span> That will do. Now if you wouldn't mind taking a seat I have some paperwork for you to fill out. </p><p><span class="u">MARCUS:</span> Are you serious?</p><p><span class="u">PHOEBE:</span> Company policy I'm afraid.</p><p><span class="u">MARCUS:</span> Really Miss...</p><p><span class="u">PHOEBE:</span> Taylor, Phoebe Taylor.</p><p>She holds out her hand. </p><p>Marcus slowly shakes it.</p><p><span class="u">MARCUS:</span> Miss Taylor, this isn't necessary. I'm honestly just here to prove to my grandmother that she's seeing zebras where there are only horses.</p><p><span class="u">PHOEBE:</span> Excuse me?</p><p><span class="u">MARCUS:</span> It's an expression. My point is, I'm in a hurry.</p><p>Phoebe, beyond exhausted, rubs and cracks her neck. She exhales heavily. The action does not go unnoticed by Marcus. </p><p><span class="u">PHOEBE:</span> (exasperated.) Fine. I'm happy to do this standing up if you prefer Dr. Whitmore, though it's a great deal less comfortable.</p><p>Marcus smirks.</p><p><span class="u">MARCUS:</span> That's the best offer I've had in a while.</p><p>Phoebe almost chuckles. </p><p>She retrieves the paper work and pen from the desk. </p><p><span class="u">MARCUS:</span> So how did you wind up getting stuck here waiting for me at....</p><p>Marcus checks his watch</p><p><span class="u">MARCUS:</span> A quarter to ten at night?</p><p>Phoebe hands him the paperwork and pen. Marcus obediently starts filling it out.  </p><p><span class="u">PHOEBE:</span> Well, I suppose I'm the newbie here. Unwanted tasks get assigned to me. Tasks like waiting for a bizarre but apparently important client who insists on viewing artifacts after hours and then arrives 3 hours later then he said he would.</p><p>Marcus grins broadly.</p><p><span class="u">MARCUS:</span> Are you always this blunt? Or is it just what happens after a fifteen hour day?</p><p><span class="u">PHOEBE:</span> The fifteen hour day doesn't help.</p><p><span class="u">MARCUS:</span> Please don't think too badly of me. There was an emergency at the hospital or I would have been on time. I promise, I'm normally very well behaved.</p><p>He proudly presents the paperwork. </p><p><span class="u">MARCUS:</span> You see? I've done everything you've asked of me.</p><p><span class="u">PHOEBE:</span> Brilliant.</p><p>Phoebe takes the paperwork back and looks over it, seemingly satisfied.</p><p><span class="u">MARCUS:</span> Have I earned the right to see the artifacts yet?</p><p><span class="u">PHOEBE:</span> Yes. I believe you have. </p><p>Phoebe leads him to the box. </p><p>She gestures for him to open it. </p><p>The wooden box is enclosed with a single red ribbon held together with the wax seal of the auction house. Marcus elegantly breaks through the seal and opens the lid. </p><p>Phoebe looks over his shoulder, curious. </p><p>Marcus goes white, looking like he's seen a ghost. </p><p><span class="u">MARCUS:</span> Well I'll be damned.</p><p>We get a closer look inside the box where two lockets are rested upon velvet padding. The lockets open revealing the renaissance miniatures they contain. One is of Diana with her hair falling around her shoulders and her face framed by a half ruffle. The other is of Matthew with his white shirt open at the collarbone. Phoebe is inspecting the pieces over Marcus' shoulder with great appreciation.</p><p><span class="u">PHOEBE:</span> Wow. They're beautiful. They don't make them like that anymore. </p><p><span class="u">MARCUS:</span> No; they don't.</p><p>Marcus reaches for his phone and quickly dials a number, holding the phone to his ear.</p><p><span class="u">MARCUS:</span> You were right Grandmere; it's them.</p><p>A pause for Ysabeau's response. </p><p>Marcus hangs up and puts his phone away. </p><p>He looks up at Phoebe. </p><p><span class="u">MARCUS:</span> Can I take you out to dinner? We can celebrate the rather large commission you've just made.</p><p><span class="u">PHOEBE: </span>Commission? </p><p><span class="u">MARCUS:</span> My grandmother's paying Sylvia upfront for the miniatures. She'll make sure you get your cut. So, dinner? </p><p><span class="u">PHOEBE:</span> I don't go out with strange men after dark.</p><p><span class="u">MARCUS:</span> Fair enough. I'll ask you out to dinner tomorrow then, after we've had lunch. Then I won't be strange anymore.</p><p><span class="u">PHOEBE:</span> Oh, you'll always be strange.</p><p><span class="u">MARCUS:</span> Is that a yes?</p><p>Phoebe considers this. </p><p>PHOEBE: I take lunch at one.</p><p><span class="u">MARCUS:</span> I'll see you at one tomorrow. And don't worry, I promise I'll be on time.</p><p>Marcus leaves. </p><p>Phoebe is left half stunned half amused. </p><p>She packs up her things and turns the computer and lights off. </p><p>Phoebe leaves. </p><hr/><p>
  <strong>EXT. WOODSTOCK VILLAGE. 1590. DAY </strong>
</p><p><br/>Widow Beaton is standing upon a wooden crate/a make-shift podium. The Old Lodge can be seen behind her as she rants about it. A hefty crowd has  gathered around her. She gestures frantically  and speaks vehemently to them. </p><p><span class="u">BEATON:</span> It is the devil they worship in that house! They summoned me to their home and asked me to join their band of traitors and heathens, to pledge my soul to the devil but I refused! We can have no tolerance for their kind here. Stand with me good Christian people and we can have this witch brought to justice.</p><p> <br/>A small mail boy is making his way through the crowd, as she speaks, a letter clutched in his hand.   </p><p>He rushes up to the font of the old lodge. </p><p>He knocks with the door knocker.</p><p>Pierre opens the door, looming large over the boy. </p><p>The boy presents him with the letter and Pierre takes it, giving the boy a silver coin in exchange. </p><p>The boy runs off. </p><p>Pierre closes the door. </p><p>
  <strong>INT. OLD LODGE. ENTRANCE HALL. DAY. </strong>
</p><p>Pierre glances at the red seal of the letter as he makes his way through the room. </p><p>He exits into the recreation room. </p><p>
  <strong>INT. OLD LODGE. RECREATION ROOM. DAY </strong>
</p><p>Pierre enters.</p><p>Matthew, Walter, Henry and Kit are drinking wine and busying themselves joyfully with a game of cards. <br/>Diana sits at a desk by the window, writing in her commonplace book.   </p><p>Pierre walks over to Matthew. </p><p><span class="u">PIERRE:</span> A letter Monsieur. </p><p>Matthew takes the letter from Pierre. </p><p>His smile fades as he sees the seal. </p><p>Beat. </p><p><span class="u">WALTER:</span> Something the matter Matthew? </p><p>Diana looks up from her writing. </p><p>Matthew breaks through the seal and tilts the open envelope over his hand. </p><p>An ancient coin falls into his palm.</p><p><span class="u">DIANA:</span> What is it Matthew? </p><p>Matthew looks up at her. </p><p><span class="u">MATTHEW:</span> Philippe has summoned us to Sept-Tour.  </p><p>
  <span class="u">
    <strong>THE END</strong>
  </span>
</p>
  </div><div class="fff_chapter_notes fff_foot_notes"><b>Notes for the Chapter:</b><blockquote class="userstuff">
          <p>That's a wrap on Ep 1!  I hope you all enjoyed reading it. Please leave a comment or a kudos, they honestly make my day and I love hearing your thoughts and feedback. </p><p>Also please let me know if you'd like to see my version of episode 2 :)</p>
        </blockquote><b>Author's Note:</b><blockquote class="userstuff"><p>I know the teaser is a little dry so continue straight on to the first Act and your introduction to the School of Night! </p>
<p>Please leave a comment or kudos if you enjoyed it or have any feedback. I'd love to hear your thoughts :)</p></blockquote></div></div>
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